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Posted on October 15th 2026, 1:31pm

Next up in the 40th anniversary celebration, ‘Orgasmatron‘ shifts into top gear with ‘Built For Speed’, the second single from Cameron Webb’s brand-new remix of the whole album, created from the original multi-tracks. A full-throttle Motörhead classic and live staple ‘Built For Speed’ does exactly what it says on the tin: huge riffs, Lemmy’s unmistakable […]

The post Motörhead – ‘Built For Speed’, New Video For 2nd Single From ‘Orgasmatron’ appeared first on ROCKPOSER DOT COM.

Blondie's back with fresh material after a decade, and this one hits different. The new album features final recordings from their late drummer Clem Burke. Continue reading…

Posted on October 15th 2026, 1:00pm

Carmine Appice leads his reactivated band on a cover of the 1963 Howlin' Wolf gem. Continue reading…

Like many others in the early 1980s as the New Wave of British Heavy Metal took off, a band named Rhabstallion set off to make their mark. They hail from a couple or three junctions along the M62 motorway from yours truly and back in the day put in the “hard yards” to get noticed. […]

The post Rhabstallion: New Live and Raw Review first appeared on New Wave of British Heavy Metal.

It’s been 40 years since we lost Cliff Burton, but the legendary Metallica bassist has left a legacy that still resonates today. We talk to his friends, music teachers, former bandmates and producers, alongside the artists who have been influenced by the immortal music he made.

Former Megadeth bassist David Ellefson recalls how frontman Dave Mustaine, who played with Cliff in the early days of Metallica, received a phone call telling him his friend had passed away. Dave then wrote Megadeth classic In My Darkest Hour.

“Here we are, still talking about him as if he was still here,” says David of Cliff’s legacy and reputation as a musical innovator. “Because he is. His music and his heart and his spirit are still here with us.”

Elsewhere, we get onboard Ozzy Osbourne’s actual crazy train, in a new attraction at Universal Studios Hollywood. Created for their Halloween Horror Nights experience, it features unseen artwork from the Double O – and a giant bat!

Meanwhile, Maynard James Keenan gets The Hammer Interview treatment. The Tool, Puscifer and A Perfect Circle frontman reveals why vampires drove him out of LA, and why retirement is “not a fucking option”.

We also get rock royalty Dave Grohl in a room with thrash royalty Anthrax, to talk homemade tattoos, shots with Dimebag and the majesty of Motorhead. Because why not?

The stars of the very first Ozzfest share their memories of the event that changed metal forever, while Iron Maiden’s longest-serving drummer, Nicko McBrain, divulges what he’s learned from marriage, aliens and the time Ozzy Osbourne saved him from falling into the sea.

President’s controversial leader grants us an audience, Chelsea Wolfe lifts the veil on her most mainstream record yet, and Castle Rat frontwoman Riley Pinkerton explains how she became the Rat Queen.

Plus, we meet Unpeople: the band who brush their teeth to Cattle Decapitation.

All this, along with Slaughter To Prevail, Ministry, Deftones, Tony Iommi, Devildriver, Black Spikes, The Primals, Cult Of Luna, ArcTanGent, Brocarde, Alice Cooper and much, much more.

Only in the new issue of Metal Hammer, on sale now.

Order it online and have it delivered straight to your door

Look for long-awaited new albums from U2, Asia and Molly Hatchet – and the fall return of Record Store Day. Continue reading…

Creedence Clearwater Revival icon to open for Zach Bryan after they wrote and recorded a song together. Continue reading…

As the year begins to transition into the sort of gloomy weather that proves a perfect companion to doom metal, this fall season isn’t quite cooperating. Rather than the gloom pervading the cover art’s beautiful painting by Larisa Brechun, the light is still keeping us. Only a few days before Mother of Graves’s latest take on ’90s-style death/doom, the temps around my parts hit 80°F. Does the good cheer this warmth brings hamper any enjoyment for the music Mother of Graves plays? Hardly. This mid-October release date has become a tradition for the Indiana quintet. Grymm enjoyed their debut over a pumpkin spice latte when they released Where the Shadows Adorn on October 14, 2022. When Carcharodon admired their “sweet, sweet sadboi vibes” in his TYMHM 2024 post, they had released The Periapt of Absence on October 18. Now releasing The Light That Keeps Us on October 16, the promo promises us that, yes, this is still your grandfather’s Mommy Graves.

Mother of Graves continues to hone what made many listeners fall in love with them on their last two records. They hop from an aggressive Paradise Lost-style of death/doom to a slower and thicker shade of My Dying Bride funeral doom with some Swallow the Sun and early Katatonia mixed in. Their transitions between these elements feel effortless thanks to impeccable mixing from Dan Swanö. Mother of Graves shines in their ability to craft evocative melodic doom. The eight-minute opener, “Wingless Soul,” contains a melody so catchy that it’ll stick like a well-loved lollipop that slipped from your hands and tangled itself in your beard hair. And speaking of Swanö, he has a brief part singing cleans on the opener, albeit a little awkwardly.¹ “Wingless Soul” displays a little bit of everything the band has to offer, from gentle piano to cleans to heavy doom to up-tempo death. While it’s a strong start, it’s not even the best thing on the album.

Nowhere does Mother of Graves better demonstrate the power of their songwriting prowess than on the final three songs of The Light That Keeps Us. “A Moonlit Tryst” begins like a piece from a Dolven record, complete with nighttime campfire sounds and acoustic guitars. The brutal, slow-moving doom that follows casts a mournful spell that’ll leave you feeling crushed in the most gentle way possible. When “The Beggar’s Allegory” begins with its beautiful gothic piano tune, it feels almost like more of the same thing. Yet the track dives into a speedier death/doom anchored by a killer melody, and there are moments on it where you can hear whispers of early Opeth. “The Endless Climb,” however, comes pretty close to SOTY material, with a terrific melodic lead, some violins, and a gentle classical piano bit, all coalescing into a conclusion that just may be the year’s most powerful.

Yet, The Light That Keeps Us falls just short of the greatness of The Periapt of Absence. It doesn’t as consistently weave its spell, as a few songs in the front half lack the impact of the rest. Mother of Graves also employs some spoken/whispered word bits throughout the record that pull listeners out of their doom-y trance. They rear their ugly head in the already lengthy “Wingless Soul” and also conclude “Through the Pale Shade” with a whimper. The worst section comes from “Eventide Angel,” though that tune at least ends in terrific, aggressive fashion. In a way, these are nitpicks, but they go to show that this album just isn’t as consistently great as its predecessor. With a more pared-back tempo, it’s also not as immediate, though it offers plenty of rewards on repeat spins.

Three records in, Mother of Graves continue to impress with their emotive compositions and incredible performances. Brandon Howe growls with strength and depth, evoking the image of a gentle giant—powerful yet sensitive. Coupled with Ben Sandman and Chris Morrison’s calculated riffs, which effortlessly carry the music from dense heaviness to melodic beauty to tenderness, Mother of Graves writes music that’s comforting in its familiarity yet rewarding in its depth. It wouldn’t surprise me if this ends up on many year-end lists, and maybe with repeat spins it could elevate itself onto mine. Whatever the case, I look forward to their next album to land October 13, 2028.

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Rating: 3.5/5.0
DR: 6 | Format Reviewed: 320 kbps mp3
Label: Profound Lore Records
Websites: Bandcamp | Facebook | Official Site
Releases Worldwide: October 16th, 2026

The post Mother of Graves – The Light That Keeps Us Review appeared first on Angry Metal Guy.